It’s Difficult to Imagine a More Inviting Point of Entry into the World of Opera Than “La Cenerentola”

"'Miei rampoli femminini' is fast in tempo, strange in content and shows off Chama's impressive vocal dexterity...the performers, Chama and Thorn, come across as more cartoon than human. The two strut, dance and ham it up with the audience while simultaneously nailing challenging arias."

— R Mitchell Miller, Willamette Week

La Cenerentola - Portland Opera

"The acting is splendid across the board, highlighted by the veteran bass-baritone Eduardo Chama’s brilliantly buffoonish turn as the alternately argumentative and sycophantic would-be strongman Don Magnifico"

— Bob Hicks, Oregon ArtsWatch

Last Knight at the Opera

“While Argentine bass-baritone Eduardo Chama handled adroitly his misogynist buffa aria early in the opera, his powerful, scene-closing solo at the end of the fourth act, where he berates Dulcinea’s shallow friends for mocking Don Quixote, gave the production a compelling emotional depth that had been missing all evening.”

— Ken Herman, San Diego Story

Don Quixote - San Diego Opera

“He [Don Quixote] made his entrance on horseback (not a real horse, of course) with the excellent Eduardo Chama as Sancho Panza.”

— James Chute, San Diego Union Times

Furlanetto Conquers La Mancha - With Dignity

“Argentinean bass-baritone Eduardo Chama was the Don’s perfect foil as Sancho Panza, thoroughly in synch with Furlanetto both vocally and dramatically, embodying his share of a relationship in which both characters deeply care for and respect each other. He skillfully balanced his vocal, dramatic and comedic approaches between the lighter, more Mozartean aria early in the opera and the heavier, more imposing singing required of him in the later acts. His La Donna É Mobile monologue was utterly convincing in its vocal sonorousness, consistency, and characterization.”

— Erica Miner, LA Opus

The Italian Girl in Algiers never wavers in fun

“Eduardo Chama played the difficult role of Mustafa, both a villain and a chump. Without a good Mustafa, the opera cannot really succeed, and in this role Chama managed very well.”

— Kenneth Delong, Calgary Herald

Portland Opera/Falstaff

“Bass-baritone Chama lofted lovely, firm falsetto at ‘Io son di Sir John Falstaff’ and ‘San Martino’ in the first scene. Later, mighty roars marked the other end of his dynamic range, but he also found more opportunities to sing softly. He sang and acted with much color and was genuinely funny, especially in the third scene, when he followed ‘Alice è mia!’ with an ebullient dance, deftly matched to the laughing music and repeated moments later at the music’s return.”

“Eduardo Chama created an unforgettable Falstaff in Portland Opera’s production of Verdi’s masterpiece of comedy. Chama anchored an exceptionally well-balanced cast that brought out all of the nuances, both in singing and acting .… Chama’s Falstaff was full of himself, but in a loveable way.” Read More...

“In the title role, Eduardo Chama led with a charismatic star turn, vocally strong and genuinely funny.”

— James McQuillen, The Oregonian

Atlanta Opera performs 'Don Giovanni' in fun, effective way

"Eduardo Chama, who masterfully plays the servant Leporello, is a lovable and funny wingman. When he launches into the famous Catalogue Aria where he outlines Don Giovanni's worldwide conquests, there is this gossipy modernity to his voice that makes it sound as if he's outing his master on Facebook or a Twitter feed."

"His servant Leporello (played brilliantly by Eduardo Chama) humorously laments what he must endure as his master frolics through life carefree, though he remains faithful in assisting the playboy with treachery."

— Stacey L. Evans, Cobb Life Magazine

'Don Quixote' makes for a gratifying night at Seattle Opera

"Both Sancho Panzas, Saturday's Eduardo Chama and Sunday's Richard Bernstein, brought to their roles the necessary ballast to balance the airy elocutions of their fellow knight-errants. Each man sang beautifully."

"He [Don Quichotte] was matched every step of the way by Eduardo Chama's lively rendition of Sancho Panza. Mr. Chama has a bright, well-placed baritone that has good ping and responsive technique. He was a perfect foil for Mr. Furlanetto and the two set off dramatic sparks on many occasions. Too, Eduardo communicated a touchingly simple admiration for his master that illuminated every bit of pathos that Massenet intended. Furlanetto and Chama were a wholly winning, first-rate combination."

"Eduardo Chama proved to be a boffo buffo, hamming it up delectably as Don Magnifico. He summoned a rich repertory of facial expressions to match the colorful vocal nuances that inflected his surely sung portrayal."

— Tim Smith, Opera News

WCO's "Cenerentola"

"Edwardo Chama's Don Magnifico was a masterpiece of comic timing, the well-placed leer, the double take. His bass-baritone is an agile instrument of many colors and he used his whole arsenal in broad strokes to paint the boorish character he was."

"The great basso buffo role of Don Magnifico, sung and acted to near-perfection by Eduardo Chama, proved to be one of the high points of this production. Making his initial entrance in slovenly fashion wearing pajamas, an open robe and hair that would have embarrassed even Beethoven, Chama's Magnifico proved less of a buffoon than a loveable (if not grumpy) authoritarian – along the lines, perhaps, of Ed Asner's Lou Grant character from the classic Mary Tyler Moore Show. Try as I might, I just couldn't dislike the guy – and I suspect many in the audience were relieved when his forgiving stepdaughter Angelina pardoned him at the close of the opera. After some slight pitch problems early in his signature aria 'Miei rampolli femminili', Chama went on to achieve a solid vocal presence and create a memorable character."

"Bass-baritone Eduardo Chama was a true tour-de-force as fatuous Don Magnifico, looking, with his perpetually unruly hair, like a manic maestro, even hilariously conducting his own exit music at one point and demanding all capital letters in his supertitle and getting them."

"Bass-baritone Eduardo Chama provided a vocally juicy and convincing portrayal of the bumptious social-climbing father, Don Magnifico, as mean-spirited as Angelina’s stepsisters. His buffo aria in which he scolded his shrill daughters for interrupting his dream of becoming a winged donkey as a sign of future prosperity, was sung with exemplary diction and perfect phrasing."

"Particularly memorable was the second scene, set in the Countryside. Early into it is one of the two major comic arias for Sancho Panza, amusingly played by Eduardo Chama. His denunciation of the things men are coerced by women into doing is one of the classic comic episodes in French opera, and, after he declares L'homme est une victime, et les maris des saints, Chama received the first sustained applause of the evening."